4DSOUND begins 2016 with an extensive new Artist Residency series and Creative Exchange as part of the GLOBALE ZKM festival. GLOBALE is a 300-day programme coinciding with the 300th anniversary of the city of Karlsruhe, home of the renowned ZKM Center for Culture and Media Technologies. An expansive and ambitious inquiry into art in the globalised and digital age, GLOBALE explores multiple themes including the use of tools for mediation in human expression, shifting patterns in global asynchronisation and the re-emergence of scientific discovery in art.
4DSOUND: Points On The Curve investigates landmark historical spatial compositions, whilst exploring new possibilities for musical forms and sound exploration using emerging spatial sound tools and technologies. The public programme commences this Sunday, the 7th February with a public presentation of the Spatial Sound Hacklab, as part of Performing Sound, Playing Technology, ZKM’s cooperation with TU Berlin and UdK Berlin. Over the course of 4 days, twenty selected coders, technologists, creators and performers will explore new instrumental approaches, performance tools and conceptual frameworks in working with spatial sound.
The opening concert on Friday 4th March will feature influential Chilean-born musician, composer and music software developer Cristian Vogel. Vogel, a figure reputed by producers of experimental electronic music and club culture enthusiasts alike for his prolific and consistently innovative output will perform new material in development exclusively for 4DSOUND at ZKM.
He will be joined by US artist, writer and teacher Alyssa Moxley. The Athens-based artist’s experimental microphone techniques have enabled her to capture a collection of engrossing field recordings over the last decade, which she will use to explore questions of individual and shared space, notions of receptivity and reciprocity in the corporeal, sound as spatial and emotional memory, and how sound can be transmitted through subjective, proprioceptive responses to the individual’s perception of place.
The evening will also include the hugely influential architect and sound composer Iannis Xenakis’ Orient-Occident. Presented and interpreted in 4DSOUND by Founder Paul Oomen, this is part of an initiative between 4DSOUND and ZKM to explore how modern technologies and approaches can bring new facets of key archival works to light, whilst suggesting new directions for composing within the medium moving forward. Exploring the physical reality of the archival material, the interpretation asks: if the composers had been working in this time with current technologies, what would it have meant for their process if they had the tools we have now, and would they have chosen a similar approach?
Written in 1960, Orient-Occident differs from the rest of the composer's electro-acoustic ouevre. An 11- minute piece originally created as part of an exhibition at the Louvre, it is closer to sound coming from the GRM (groupe de recherches musicales) studios in Paris. Working at the level of sound objects, it features many blocks of overlapping and juxtaposed sounds, created through his innovative use of layering and sound collage developed during his time there. The presentation and interpretation seeks to faithfully release the original dimensionality within the sound recordings.
On Saturday 5th March, 4DSOUND will hold Artist Talks and Discussion where the artists participating in the programme will delve into the concepts and working process in a session moderated by Paul Oomen.
In the evening concert, Berlin club night Janus resident M.E.S.H. will perform. The US sound artist and dancefloor experimentalist, whose acclaimed album 'Piteous Gate' on PAN forged ahead into unpredictable, theatrical soundscapes, will present a new concept in 4DSOUND developed during his residency with the system.
He will be joined by young Belgian sound designer and composer Koenraad Ecker, exploring how orientation-through-sound plays an essential role in regulating our instinctive emotions and responses: closeness, fear, protection and isolation, even feelings of warmth or coldness are influenced by the space we acoustically perceive ourselves to be in. Ecker arranges a spatial ecology of everyday objects recorded and processed in meticulous detail, creating strangely discomforting, even menacing relationships with the familiar at new levels of scale and intimacy.
The same night, there will be a rare opportunity to experience Edgar Varèse's seminal Poème électronique, also re-intepreted in 4DSOUND by Paul Oomen. Poème électronique is an 8-minute piece originally composed for the futuristic Philips Pavilion at the 1958 Brussels World Fair, a huge accomplishment in sonic architecture, working with some of the most advanced technology of the time. An early example of a spatial sound installation, the tape recording's spatialisation was manipulated for the composer via banks of hundreds of speakers embedded in the walls of the Le-Corbusier designed Pavilion.
The following Friday 11th March, 4DSOUND will host a night with raster-noton as part of the pioneering Berlin imprint’s 20th anniversary celebrations. David L’atellier, a French musician better known under his moniker Kangding Ray, will perform new material developed during his residency on the system. L’atellier’s recent output such as the raster-noton album 'Cory Arcane' defines new boundaries in industrial-influenced post-techno, crafting uncompromisingly physical music that draws on his background as a trained architect: defined sonic surfaces and planes dissolve and flicker into motion, conjuring at once bleak and yet emotionally intimate spaces.
4DSOUND also welcomes for the first time Japanese musician Kyoka. Inspired by her early experiments with tape compositions, the Berlin-based multi-instrumentalist works with synthesis and digital processing to create heavy-rough textures, creating broken pop-beats that are both experimental and danceable rhythms.
They will be joined by ongoing 4DSOUND collaborator Frank Bretschneider, experimental minimalist composer and raster-noton co-founder. Bretschneider will continue his latest work Isolation, undertaking an auditive journey along the narrow edges between the inner and outer acoustic world. The work attempts to explore and interpret the impact of longtime sensory deprivation and how this environment changes the auditory perception of prisoners as well as such effects as perceptual disorders and tinnitus - an unexpected and unsettling exploration into sensorial space.
Tickets & Event Information